Posted on August 28, 2011


  adLibdances/ methods/philosophy

   Choreography is a bio-graphy in denial      

 In search of the divergent image

In my personal choreographic process, there is one major question I set : “what is there left to be danced?” In relation with modern dance in modern society,  this question  is reduced into “what has society forgotten to dance?” One  way to approach this is by taking a divergent look backwards, in the same way as the face of “Angelus Novus” by the painter Klee according to Walter Benjamin’s ninth thesis on history is representing that…”His face is turned toward the past…but the storm is blowing in from paradise…the storm irresistibly propels him into the future“. I am practicing  the same principal of divergence in my choreographic process by pushing every position, every movement towards its edge. As my  intention is  to create an area of divergence, the only area in which I sense the lapse of social clichés. The words of Titus Lucretius on divergence are enlightening: “if it were not for this swerve, everything would fall downwards like raindrops through the abyss of space. No collision would take place and no impact of atom upon atom would be created. Thus nature would never have created anything”( De Rerum Natura). In my own investigative process, in order to encounter a new language of movement, I must resign either from any type of identifiable art form or from any kind of social prejudice. Knowing how difficult this can be, I am obliged to make this enterprise a “fundamental principle”. This leads me to alienate the performers from gender, language, the muscular system that defines them during the creative process. Thinking that   the image is  a reflection, I want to break the mirror (and the reality that this image represents), by creating a different image, instinctively putting together the fragments. This intention is structured in relation to my research  by the following  three major  stages:

1) selection of the basic movement

2) intervention on the movement itself, in order to create a rift in the conventional reality of the movement

3) establishing laws of deviation on the very sense of representation  

Without any intention of sounding pompous, I would like to begin with the word “void”, therefore locating the area in which are set these basic questions, the foundations of my work. The void is not used as a metaphor but as the space, or rather, the non-space where I can examine a person’s dynamic, which later one becomes a position or a movement in the area of representation. Selecting a basic movement can be a purely instinctive process, but there is a way to approach it by consciously distancing myself from the obvious. It is as if I am challenging myself, by establishing a status of “cultural amnesia”. By enforcing such a state of internal stillness, it triggers the memory that will surface the basic movement. It is as if you discover the skeleton of a buried creature, which carries its history inside its void. The basic movement comes from this void, but its selection will remain unconscious until it is justified through the development of form. This lost movement requires its own time and therefore, I can only question time in order to allow for the hidden forces behind this movement to reveal themselves. By time, I mean time as is commonly perceived and of which I am part. The rift in the meaning of time just like a wound is  important for any type of divergence and for this, it must be preserved  from healing. After this selected movement has come to light, it still bears its reality, its realism. My obligation as an artist is to create a rift in its reality, so that it loses its balance, its symmetry. An example that could visualize my intentions is the movement of the pendulum and in particular, the course of the ball if the string is cut (in the dynamic position). The ball then loses as part of the pendulum  its main significance.My interest is consigned upon the unknown course of the ball after the string is cut. The pendulum’s  meaning has been displaced.  

calypso choreography